Yeah, I preferred the second episode too. I think it was a tad bit funnier and made up a bit more for the silliness of the plot. For most of it, I was convinced that Roy was going to try to con them or that there would be some kind of seedy side to his character, which I feel like happens so often on sitcoms, so I…

It's more of a catchphrase than a joke, and they don't actually use it that much. You should watch the show. It's good.

Winona helping Raylan gun down Augustine's thugs was badass. And the parallel between Raylan repairing his father's home (symbolic of the past) and Boyd breaking into the Clover Hill home (symbolic of the future, or at least a possible future) absolutely gutted me.

In his EW postmortem, Graham Yost said that it was meant to be a shout-out to the fans. I think both could be true, though.

I agree. I honestly have a bit of a hard time remembering most of the episode titles, with the exception of the biggest ones like "The Suitcase" or "Shut the Door. Have a Seat", and I think it's partly because what makes Mad Men work most often is how the characters and themes unfold over long spans of time, rather…

Yes, I really liked that episode as well. I still miss Sal…Honestly, almost every episode has its rewards and is fairly important in some way.

1. In his EW postmortem last week, Graham Yost said that the main point of Colt killing Augustine's goon was so that he could leave and be able to meet Boyd, a meeting that we saw at the beginning of this episode. It might've just been done for plot/moving-the-story-forward purposes.

Fantastic scene. The fact that we all pretty much knew it was coming and, ultimately, how it was going to play out makes the effectiveness and tension of that scene even more impressive.

I don't know if he seemed to be completely ignoring them. Maybe it was just because of the sequencing of the scenes, but I thought their relationship, with Shelby being a bit of a father figure for Ellen May, made Raylan think of his unborn daughter.

I was worried about that too. [wipes brow in relief]

Liked for the quote. I thought the comment about Raylan's hair was a nice meta moment about Timothy Olyphant's hairstyle. I like Rachel and Raylan's dynamic a lot, which is a huge reason why I really don't want them to hook up. It just doesn't seem right…..

No, I momentarily thought so too. I also thought that, when the guy turned around to go to his toolbox, he'd pull out a gun. That scene was seriously intense, and now I'm just scared about next week.

Graham Yost has said that the scene was meant to be an homage to True Romance and Reservoir Dogs, so they certainly wanted it to feel a bit like Tarantino.

YES! It was a brief moment, but good god, it was horrifying.

It was definitely Tarantino-esque, which I didn't think was a bad thing at all. The scene with Ava and Augustine in the bar also seemed like something out of a Tarantino movie in the way that it built up the tension and used rather roundabout dialogue to delve into the characters' personalities, motivations and…

That scene was fucking brilliant. Even while watching it, I could barely contain squeals of glee, which I did actively try to contain because I didn't want to miss a single word of that magnificent dialogue. It deserves all the awards.

Yeah, I thought that at first too. I face palmed really hard.

@avclub-41ae3cd2f3e6402db3f418313787cf86:disqus I don't think The Office would have to split Jim and Pam up to make their relationship interesting. If they were willing to push the long-distance relationship thing harder, then I think that could've been really effective, but instead, they opted to do some weird…

I think another reason why trying to go for a Springfield thing doesn't work with Parks and Rec is that The Simpsons essentially always resets every episode, so they don't need to worry about continuity or character growth. A show like Parks and Rec, though, is assumed to take place in a fairly real world where the…

Yes, I agree. "Bailout" was one of the better episodes of the season. And I think sitcoms in general tend to be more successful when they explore the dynamics between a core group of characters, rather than bringing in external forces to generate all of the conflict.